This book’s highly polished arguments situate digital 3D cinema within major debates about the role of the image in contemporary society as well as related structures of power. Jones’s historical focus and interaction with significant visual culture debates situate the unique contribution this book has to offer.

- Miriam Ross, author of <i>3D Cinema: Optical Illusions and Tactile Experiences</i>,

At once rigorously historical, inventively erudite, and highly original, <i>Spaces Mapped and Monstrous</i> combines digital theory, screen aesthetics, and media archaeology to persuasively argue that the digital aesthetics in 3D cinema should not be dismissed as "failed realism" or cheap gimmicks. Instead, these examples provide new spatial relations and epistemological regimes that help us better understand digital technologies more broadly.

- Julie Turnock, author of <i>Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics</i>,

In this expansive inquiry, Nick Jones dispels the myth that 3D is simply a variant of planar cinema. For over a century, Jones contends, 3D has been vital to a shifting understanding of what images are and how we are mobilized through them. Encompassing both its experimental anamorphic facets and its complicity in the instrumentalization of the visual field, this account is a call for us to think 3D again.

- Janet Harbord, author of <i>Ex-centric Cinema: Giorgio Agamben and Film Archaeology</i>,